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"  Art  manifests  whatever  is  most  exalted,  and  it 
manifests  it  to  all" — Taine 

FRA  ANGELICO 


A    SKETCH 


JENNIE   ELLIS   KEYSOR 
Author  of  "  Sketches  of  American  Authors" 

/2.8Q4- 


EDUCATIONAL    PUBLISHING    COMPANY 

BOSTON 

New  York        Chicago        San  Francisco 


9y^ 


"The  art  of  Angelico,  both  as  a  colorist  and  a  draughtsman,  is 
consummate  ;  so  perfect  and  so  beautiful  that  his  work  may  be 
recognized  at  a  distance  by  the  rainbow-play  and  brilliancy  of  it: 
however  closely  it  may  be  surrounded  by  other  works  of  the  same 
school,  glowing  with  enamel  and  gold,  Angelico's  ma}T  be  told 
from  them  at  a  glance,  like  so  many  huge  pieces  of  opal  among 
common  marbles." 

—  John  Ruskin. 

uThe  light  of  his  studio  came  from  Paradise." 

—  Paul  de  St.  Victor. 

"His  world  is  a  strange  one  —  a  world  not  of  hills  and  fields 
and  flowers  and  men  of  flesh  and  blood,  but  one  where  the 
people  are  embodied  ecstasies,  the  colors  tints  from  evening 
clouds  or  apocalyptic  jewels,  the  scenery  a  flood  of  light  or  a 
background  of  illuminated  gold.  His  mystic  gardens,  where  the 
ransomed  souls  embrace  and  dance  with  angels  on  the  lawns  out- 
side the  City  of  the  Lamb,  are  such  as  were  never  trodden  by  the 
foot  of  man  in  any  paradise  of  earth." 

"Fra  Angelico's  Madonnas  are  beings  of 
words  fail  to  convey  any  idea  of  tlieir  ineffable    iove 
purity.     His    angels  too  are    creatures    of    another   sphere,   and 
purer  types  have  never  yet  been  conceived  in  art.     The  drawing 
of    the  hands  of  his  angels  and  Madonnas  is  most  exquisite  — 
charming  in  tender  yet  subtle  simplicity  of  outline." 

—  Timothy  Cole. 


Copyrighted,  1900,  by  Educational  Publishing  Co. 


I  I:  \      \  M.  I  I. Ho 


FRA   ANGELICO. 

1387—1455- 

Let  us  for  a  few  moments  turn  our  attention  to  a 
monastery  a  short  distance  from  Florence.  From  its 
elevated  position  on  the  hills  which  skirt  the  vale  of  the 
Arno  it  commands  a  panoramic  view  of  the  "  Lily  City." 
It  is  the  time  when  the  Renaissance  is  virgin  new  to 
the  world.  Faith  was  still  so  real  and  living-  a  thing 
that  men  and  women  shut  themselves  up  from  the  world 
in  order  to  live  holy  lives  and  devote  themselves  entirely 
to  the  service  of  God. 

It  is  a  body  of  such  men  on  the  heights  of  Fiesole 
\*    that  interests  us.      They  are  Dominican   monks,  of  the 
v  ^  order  of  great  preachers,  founded  long  ago  by  St.  Domi- 
» '    nic.      Over  long  white  robes  the  brothers,  or  f rates,  as 
t    they  are  called,  wear  black  capes  and  back  from  their 
tonsured  heads  fall  hoods,  which  protect  them  in  inclem- 
ent weather.     It  is  a  prosperous  monastery   surrounded 
by  goodly  fields.      In  some,  the  olive  groves  blossom  in 

Fiesole  (fe-a'so-le)  5 

Angelico    (Sn-jel'e-ko) 


FRA    ANGELICO. 


the  spring-like  snow,  or  wear  ^foliage  of  richest  green  as 
the  season  advances.  In  others,  the  yellowing  grain 
waves  in  the  upland  summer  breeze.  The  monks  are 
busy  people,  many  without  in  the  fields  tilling  the  fruit- 
ful soil  or  gathering  in  the  abundant  harvest. 

Indoors  there  is  the  silence  which  attends  toil,  intense 
and  absorbing.      The  cellar  and  kitchen  are  in  perfect 
order  and  in  the  refectory,  or  dining  room,  the  table  is 
spread  for  the  next  frugal  meal.      In  the  scriptorium,  or 
writing  room,  several   monks  are  busy  copying  ancient 
manuscripts  on  parchment.      One  does  this  work,  using 
the  most   exquisite   lettering,  while  another  indites  the 
hymns  long  loved  by  the  church.      This  other,  bending 
over  his  task,  from  a  rich  palette  makes  the  vine  to  run, 
the  dragon  to  coil,  the  angel  head  to  shine,  the  tropic 
bird  to  fly  from  out  the  lettering  of  his  book  or,  more 
ambitious    still,    he    decorates  a  broad   margin  with  an 
elaborate  design.     Mayhap  he  devotes  an  entire  page  to 
the  deliniation  of  some  favorite  saint.  — 
"  What  joy  it  is  to  labor  so, 
To  see  the  long-tressed  angels  grow 
Beneath  the  cunning  of  his  hand, 
Vignette  and  tail-piece  subtly  wrought !" 
Here  in  the  walk  of  the  cloisters,  his  pallid  face  lit 
up  by  fiery  eyes,  strolls  another,  the    preacher  of    the 
monastery.     To-night  he  will  electrify  his  audience  with 


FRA   ANGELICO.  7 

the  eloquence  of  his  sermon  that  shall  tell  of  the  curse 
of  evil,  of  the  saving  power  of  love. 

Yonder,  with  the  face  and  attitude  of  one  who  prays, 
painting  a  lovely  angel  with  flame  upon  her  forehead, 
with  stars  upon  her  robe  and  with  a  golden  trumpet  in 
her  hand,  is  a  man  whose  fancy  has  outgrown  the  mar- 
gin, the  full  page  even,  of  the  beloved  parchment  book, 
and  so  he  fills  a  whole  wall  with  his  vision  from  Para- 
dise. Little  need  is  there  to  name  this  painter-monk. 
It  is  Fra  Angelico,  the  "  Angelical  Painter,"  II  Beato, 
"  The  Blessed." 

To  this  man,  who  prays  as  he  paints  and  who  paints 
as  he  prays,  we  are  to  give  our  attention  for  a  time.  It 
is  particularly  delightful  to  find  such  a  character  in  a 
time  when  holy  men  and  women  sometimes  forgot  their 
religious  vows  and  ordinary  citizens,  in  their  scramble 
for  place,  lost  sight  of  the  laws  of  honor  and  manhood. 
In  a  time  of  greed  it  pleases  us  to  find  a  man,  who, 
though  his  art  was  the  fashion  of  his  period,  would  take 
no  money  for  his  pictures ;  in  a  time  of  ambition  for 
place,  to  find  one  who  could  refuse  an  elevated  position 
because  he  did  not  think  himself  fitted,  to  fill  it ;  to  find 
a  man  so  simple  and  yet  so  wise  that  he  knew  the  work 
allotted  to  him  in  life  and  had  the  devotion  to  stick  to  it 
in  spite  of  inducements  to  give  it  up. 

Such  a  man  was  Fra  Angelico,  the  sweet  character, 


FRA   ANGELICO.  9 

the  beautiful  artist  of  heavenly  visions,  the  man  to 
whom  Ruskin  goes  back  as  the  embodiment  of  correct 
principles  in  art,  even  beyond  Raphael,  the  idol  of  the 
ages.  Fra  Angelico  is  the  last  figure  of  the  old  simple 
time  in  art  when  the  spirit  counted  for  most.  He  lin- 
gered long  on  the  threshold  of  that  later  time,  when  men 
forgot  the  spirit  in  their  enthusiasm  for  copying  the  real 
thing  as  it  presents  itself  in  nature. 

Now  that  we  know  what  the  prosaic  artists  of  that 
prosaic  time  taught,  namely  to  draw  correctly,  Ave  go 
back  to  the  visions  of  the  angelical  painter  and  hug 
them  to  us  as  a  rich  bequest,  a  glimpse,  as  it  were,  of 
that  paradise  closed  to  mortal  eyes.  Along  other  lines  too, 
it  is  good  for  us  to  study  the  men  and  women  who  were 
great  enough  to  be  simple,  to  be  devoted.  In  art  it  is 
quite  as  good  and  equally  delightful. 

Whoever  tells  the  story  of  Fra  Angelico's  life  has  few 
dates  and  events  with  which  to  entangle  his  reader's 
treacherous  memory.  The  story  is  told  when  the  man 
and  his  spirit  have  been  portrayed,  when  his  surround- 
ings at  various  periods  have  been  described.  It  is  forced 
home  to  us,  therefore,  that  we  ought  to  know  well  the 
history  of  the  company  of  men  to  whom  he  belonged 
and  was  devotedly  attached  for  almost  fifty  years  of  his 
life. 

We  have   already  spoken  of  these  monks  at  Fiesole 


10  FRA   ANGELICO. 

and  of  their  pursuits.  As  they  gazed  out  upon  Flor- 
ence, the  matchless  city  of  the  Arno,  it  was  with  long- 
ing hearts  as  homesick  children,  for  they  had  been  ban- 
ished from  the  loved  city  as  a  matter  of  discipline,  years 
before.  As  they  looked  out  from  their  commanding 
windows,  they  forgot  the  glorious  scenery  about  them  in 
an  intense  desire  to  be  at  home  again.  In  a  small  way 
they  shared  the  agonized  grief  of  Dante,  an  exile  in 
Ravenna's  drear  waters,  when  he  knocked  in  vain  at  the 
closed  gates  of  his  loved  and  native  Florence.  Theirs, 
however,  was  a  kinder  fate  than  that  which  befell  the 
x3iiowned  poet,  for  they  were  recalled  to  Florence. 

The  monastery  of  San  Marco  was  emptied  of  some 
monks  of  another  order  and  the  place  given  over  to  the 
reformed  Dominicans.  Singing  hymns  of  praise,  arrayed 
in  their  black  and  white,  they  filed  down  from  the 
heights  of  Fiesole  to  San  Marco,  while  the  expelled 
monks  departed  with  downcast  mien  and  sore  lamen- 
tations. 

The  restored  monks  found  San  Marco  hardly  fit  for 
habitation,  so  ruinous  was  its  condition.  Cosimo  de 
Medici  came  to  their  relief  and  repaired  and  beautified 
the  building.  In  addition,  he  had  a  sort  of  chapel  or 
retiring  room  fitted  up  in  it  for  himself  to  which  he 
might  come  for  quiet  and  for  consultation.  Willingly 
the  monks  dwelt  in  huts  while  the  repairs  and  decorations 

Medici  (Med'e-che). 


FRA   ANGELICO.  11 

were  going"  forward.  We  shall  learn  later  how  Angel- 
ico  embellished  the  walls  of  cloister  and  cell  until  the 
thoughts  of  the  angelical  brother  were  laid  bare  to  his 
companions,  so  that,  to-day,  perhaps  the  chief  reason  for 
the  throng"  of  visitors  to  this  unattractive  building  is 
the  fact  that  here  Fra  Angelico  lived  and  painted. 

The  Dominicans  were  restored  to  Florence  and  their 
home,  San  Marco,  began  its  career,  if,  indeed,  we  may 
sav  that  a  building  can  have  a  career,  as  an  essential 
factor  in  Florentine  history. 

We  may  love  Fra  Angelico  but,  after  all,  the  most 
interesting  association  in  many  minds  for  San  Marco  is 
not  his  sweet  life  in  its  brotherhood  or  his  heavenly 
faces  upon  its  walls,  but  rather  that  here  studied,  taught, 
preached  and  died  Savonarola,  that  pure  patriot,  that 
noble,  although  often  mistaken  man,  that  most  eloquent 
orator  that  Florence  has  given  to  the  world.  As  simple 
as  Angelico  and  as  free  from  place-seeking,  he  was  the 
soul  and  voice  of  the  Florentine  people  when  faction 
rent  the  city  and  threatened  its  very  existence.  That 
clear  voice,  prompted  by  a  magnificent  love,  by  a  burn- 
ing zeal,  sometimes  makes  us  forget  that  the  zeal  was 
often  misguided,  and  that  disobedience  to  authority  is 
not  always  the  best  way  of  effecting  reform. 

San  Marco,  standing  off  there  from  the  Duomo,  is  a 
plain  building,  but  to  the  thoughtful  visitor  to-day  there 


FRA   ANGELICO.  13 

are  echoes  of  footfalls  sounding;  down  those  tenantless 
halls,  which  make  the  heart  quicken  its  beating,  the 
cheek  flush,  and  the  eye  dim  ;  for  it  is  Savonarola's  voice 
that  he  hears,  Angelico's  brush  that  he  marks,  the  wise 
counsel  of  Antonio  that  falls  on  his  ear,  instead  of  the 
sights  and  sounds  of  sense. 

Three  times,  at  least,  in  the  history  of  Italian  art  a 
pure  light,  a  fresh  stream  has  flowed  in  from  the  hills — 
Raphael  from  Urbino  among  the  heights  of  Umbria, 
Titian  from  the  crags  of  Cadore  and  now  Angelico  from 
the  slopes  of  the  Apennines  in  the  fertile  district  of 
Mugello.  Each  brought  with  him  from  his  native  hills 
a  vigor  and  devotion  new  to  the  dwellers  below. 

At  Vecchio,  a  small  town  crowning  one  of  the  spurs 
of  the  Apennines,  Fra  Angelico  was  born,  in  1387. 
His  father  was  a  certain  Pietro,  or  Peter,  and  there  was 
an  older  son  who  afterwards  bore  the  name  Benedetto. 
Now,  the  name  Angelico,  by  which  we  love  to  call  our 
angel  painter,  was  really  not  his  name  at  all.  He  was 
simply  Guido,  the  son  of  Pietro,  and  when  he  entered 
the  monastery  he  was  given  yet  another  name,  Giovanni, 
or  John.  Fate,  or  fame  rather,  destined  that  he  should 
not  be  known  either  by  his  birth  name  or  by  his  relig- 
ious name.  What  his  hand  could  do,  what  his  heart 
could  show  were  the  things  which  determined  his  name. 
Because   he   painted   angels    so    matchlessly  they  called 

Guido  (Gue'do)  Vecchio  (wek'ke-6) 


14  FRA    ANGELICO. 

him  Brother  or  Fra  Angelico,  because  his  heart  opened 
so  unselfishly  to  his  fellow  men  they  called  him  Beato, 
"  The  Blessed,"  and  by  these  names  we  know  him 
today. 

From  what  Vasari  tells  us,  that  Guido  might  have 
lived  at  ease  had  he  so  desired,  we  know  that  his  father 
was  a  man  of  means.  What  the  boy's  education  was 
we  are  unable  to  tell  definitely.  From  the  surroundings 
of  his  home  at  Vecchio  we  can  infer  much,  especiallv  in 
the  light  of  Angelico's  later  work.  Hardly  twenty 
miles  from  Florence,  on  the  road  to  Ravenna,  the  hill 
town  of  Vecchio  must  have  taken  a  keen  interest  in  the 
stirring:  events  ever  £oino-  on  in  the  Florence  of  the 
early  Renaissance. 

We  can  imagine,  however,  that,  though  these  things 
impressed  the  young  Guido,  the  beautiful  scenery 
surrounding  his  home  held  a  deeper  meaning  for  him. 
Here  were  fine  olive  groves,  there  rocks  grew  bare  and 
jagged,  refusing  to  produce  anything  except  scrubby 
underbrush.  A  frowning  precipice  yonder  lost  none  of 
its  forbidding  character  because  of  the  crown  it  wore  — 
a  fine  castle,  which  told  by  its  towers  and  turrets,  where 
watchmen  stood  or  paced  throughout  the  lonely  hours, 
that  the  age  when  lusty  knights  rode  forth  to  harry 
each  others  domain  was  not  wholly  past. 

That  castle,  gleaming   white  and   menacing  through 

Vasari,  (va-sa're) 


FRA   ANGELICO.  17 

the  olive  trees,  is  one  of  the  country  seats  of  the  power- 
ful Medicean  family.  The  boy  Guido  and  his  brother 
have  often  seen  the  great  Cosimo  walking  in  his  garden 
or  riding  on  the  highway.  Indeed,  the  boys  have  been 
accosted  by  him  and  questioned  regarding  their  sports. 

It  was  not,  however,  the  power  of  man,  who  plants  his 
dwellings  on  the  heights  of  the  earth  or  grows  fat  upon 
the  produce  of  her  soil,  that  most  deeply  impressed  our 
young  artist.  To  him  the  pearly  white  of  the  summer 
cloud,  the  cerulean  blue  of  the  endless  depths  of  air, 
the  amethyst,  ruby  and  topaz  of  the  sky  at  sunrise  or 
sunset  were  more.  They  seemed  but  reflections  of  a 
glory  beyond  cloud  and  sky,  where  the  hosts  of  the 
blessed  forever  praise  their  redeeming  Lord.  Those 
soft  and  melting  colors  slid  into  his  soul  and  years  later 
he  poured  them  forth  in  the  garment  of  some  trumpet- 
ing angel,  blessed  Madonna,  or  rejoicing  brother. 

In  his  tenderness  for  nature  we  can  imagine  that  the 
little  creatures  of  the  woods  fled  not  at  his  approach  but 
rather  stayed  to  receive  from  his  hand  food  or  a  loving 
caress.  The  flowers  that  bespangled  the  soft  Tuscan 
turf  sprung  up  after  his  foot  had  pressed  them,  so  light 
was  his  step,  so  gentle  the  thought  that  in  him  reigned. 
The  boys  were  constantly  together,  sharing  in  the 
rambles  and  sports  which  their  home  region  encouraged. 
Their  love  increased  until  it  was  sealed  by  the  vow  that 


18 


FHA    ANGELTOO. 


made  them  brother  monks 
as  well  as  brothers  in  flesh 
and  blood. 

At  the  age  of  fourteen 
Guido  left  home,  prob- 
ably for  purposes  of  study, 
but  we  cannot  trace  his 
course  during  the  next  six 
years.  We  know  not  if, 
like  Titian,  he  crushed 
flowers  to  obtain  their 
colors  to  paint  with,  in  his 
boyhood  days,  but  some- 
how, somewhere  in  those 
early  years  he  learned  the 
rudiments  of  the  art  by 
which  the  world  knows 
him  to-day. 

With  such  a  boyhood, 
remote  from  the  marts  of 
trade,  surrounded  by  all 
that  is  loveliest  in  nature, 
we  are  not  surprised  to 
find  him  at  the  age  of 
twenty  anxious  to  follow 
It  is  pos- 


a  religious  life 


FRA    ANGELICO. 


19 


sible  that,  during  those  six 
years  just  previous    to  his 
entering    the    convent,    he 
may    have    studied    minia- 
ture painting   or  illuminat- 
ing    in    some    monastery, 
where  his   purpose    to    be- 
come a  monk  took  definite 
form.     However  that  may 
be,  in  1407,  he  sought  out 
the    monastery    at    Fiesole 
and  entered  as  a  novice,  to 
begin  the  study  and  priva- 
tions which  should  prepare 
him  for  the  life  of  a  Domi- 
nican friar.     To  his  great 
joy  his  elder  brother  joined 
him     soon    after    and    was 
o-iven  the  name  Benedetto. 
The    novices    were    sent 
for  a  time  to  the  older  con- 
vent of  Cortona.      Here  the 
training:  in  the  love  of  Nat- 
ure,    which    began    in    the 
hills  of  Vecchio,  was  con- 
tinued.      The    convent     of 
Cortona  (kor-to'na.) 


20 


VUA    ANGELICO. 


Cortona  stood  upon  an  eleva- 
tion overlooking-  the  placid 
waters  of  Lake  Trasemene, 
where,  in  ancient  times,  Han- 
nibal gained  a  great  victory 
over  the  Romans.  All  about 
were  the  remains  of  massive 
masonry,  built  in  the  remote 
past  by  the  Etruscans.  Three 
islands  broke  the  quiet  sur- 
face of  the  little  lake  and  on 
one  of  them  stood  a  monas- 
tery. I  wonder  if,  on  days  of 
relaxation,  the  holy  men,  row- 
ing across  to  visit  their  broth- 
ers of  the  island,  did  not 
catch  some  of  the  finny  tribe 
that  inhabited  the  lake,  or 
snare  some  of  the  wild  fowl 
that  lived  along1  its  margin. 

Our  angelical  painter  pro- 
bably was  not  attracted  by 
such  matters.  The  prospect 
of  lake  and  hill  and  wood, 
which  daily  opened  before 
him,   deepened    all     his    early 


Trasimene   ( tra-se  nm'ue) 


FRA   ANGELICO. 


21 


impressions  and  so,  almost 
unconsciously,  the  training 
for  his  future  work  con- 
tinued. Meanwhile,  too,  he 
probably  practiced  assidu- 
ously in  the  parchment 
books  of  the  monastery  the 
art  of  illumination. 

Shortly    after    Angelico 
took  upon  himself  the  full 
vows  of  a  monk,  the  whole 
religious    body    of    Fiesole 
was    removed    to    Foligno. 
Here  they  remained  for  sev- 
eral years,  until  the  plague 
broke  out  and  they  fled  to 
Cortona,    the     same    town 
where  Angelico  had  spent 
several   years  of    his  novi- 
tiate.       By    this     time    he 
had  become  a  full  fledged 
painter,  as  is  shown  by  the 
work  he  left  in  two  Domi- 
nican churches  of  Cortona. 
There  is  reason   to  believe 
that  when  Angelico,  an  old 
Foligno   i  f5-len'yo) 


■22 


FRA    ANGELTC'O. 


man,  was  on  his  way  to 
Rome  to  paint  for  the 
Pope,  he  gave,  in  ex- 
change for  the  courtesies 
of  the  convent  of  Cortona 
to  a  traveller,  some  pict- 
ures of  the  Madonna 
which  are  still  to  be  seen 
in  the  church  of  St.  Domi- 
nic in  Cortona. 

The  brotherhood  was 
later  recalled  to  Fiesole. 
Anffelico  must  often  have 
o'one  down  to  Florence 
and  there  have  seen  the 
work  of  his  great  con- 
temporaries in  art.  Mas- 
saccio  was  the  artist,  above 
all  others,  who  was  at- 
tracting attention  at  this 
time.  His  work  was  the 
most  accurate  representa- 
tion of  real  things  that 
had  yet  been  made  by  any 
artist  in  Italy.  Fra  An- 
gelico  must' have  seen  his  work  and  profited  by  it,  too. 
Masaccio  (ma-sat'cho) 


FRA   ANGELICO. 


23 


But  he  never  forgot  his 
early  inspiration  drawn 
from  the  hills  and  from 
the  morning  and  evening- 
skies,  and  so  he  went 
back,  in  spite  of  any 
small  influence  of  the 
new  art,  to  pore  over  the 
parchment  page  and  to 
make  the  vision  of  his 
soul  write  itself  down  in 
fadeless  color  on  golden 
backgrounds.  What  he 
saw  of  artists'  work  out- 
side of  the  convent  had 
one  marked  influence, 
however.  Our  devout 
painter  began  to  feel 
trammeled  by  the  nar- 
rowness of  a  margin,  in- 
deed of  an  entire  page, 
and  he  turned  to  the 
ample  space  furnished 
by  the  walls  of  convent 
and  church. 

It  was  shortly  after  the 


24 


FRA    ANGELICO. 


return  of  the  brotherhood 
from  Cortona  that  they 
were  given  the  church  and 
convent  of  San  Marco  in 
Florence.  After  long  ab- 
sence they  were  to  return 
home  and  their  hearts 
were  lifted  in  song.  When 
the  repairs  were  completed, 
Cosimo  bethought  him  of 
the  painter  monk  of  the 
brotherhood,  and  asked  him 
to  make  the  house  beautiful 
for  his  brethren.  Whether 
Cosimo  remembered  those 
early  days  when  he  had 
accosted  two  boys  in  the 
vicinity  of  his  castle  we  do 
not  know,  but  it  seems  cer- 
tain that  he  knew  of  the 
mature  artists  work  and 
his  reputation  throughout 
Tuscany. 

It  must  have  been  a  great 
joy  to  Fra  Giovanni  to  be 
given  this  congenial  task  in 


Giovann  i    t  g  -viin'n 


FRA   ANGELICO.  25 

which  he  could  glorify  God  and  gratify  his  own  passion 
for  art.  Henceforth  he  left  the  parchment  books  to  his 
brother  to  embellish  while  he  occupied  himself  on  the 
larger  space  his  soul  had  long  craved. 

Lest  this  work,  which  he  loved  so  dearly,  should  be 
done  in  a  spirit  of  self-indulgence,  he  laid  certain 
strictures  upon  himself  in  carrying  it  on.  He  believed 
that  he  had  a  message  direct  from  God  to  bear  to  men 
through  his  pictures,  so  he  never  undertook  one  of 
them  without  prefacing  the  work  with  a  season  of  fast- 
ing and  prayer,  and  then,  when  he  began  his  work,  he 
never  changed  a  stroke  lest  he  prove  disobedient  to 
the  heavenly  vision.  Often  and  often  his  lips  moved  in 
prayer  while  his  hand  laid  on  the  colors  of  the  robes  or 
the  gold  of  the  background. 

While  he  painted  the  Crucifixion  tears  streamed  down 
his  cheeks  in  sympathy  with  the  agony  there  endured. 
The  pictures  of  a  man  who  painted  in  such  a  spirit  are 
not  mere  works  of  art.  They  are  more,  for  they  lay 
bare  to  us  a  human  soul,  making  the  thoughts  he 
thought  our  own,  the  devoutness  and  sympathy  he  felt 
a  part  of  our  own  lives. 

Savonarola  thundered  forth  his  message  from  the 
pulpit  of  San  Marco  ;  Angelico  delivered  his,  more 
enduring,  though  hardly  less  eloquent,  on  his  knees, 
through  the  rainbow  colors  on  his  palette.      In  an  age 


FRA    ANGELICO.  27 

when  monasteries  and  convents  were  an  essential  part  of 
civilization,  it  was  a  mighty  contribution  that  San  Marco 
gave  to  the  world  in  the  earnest  preacher,  in  the  angelic 
painter.  Both  were  simple  men,  great  in  their  devotion, 
leaders  of  their  age  in  their  respective  places,  but  the 
one  was  wending  along  a  quiet  way  that  should  termi- 
nate peacefully  in  a  secluded  grave  in  Rome,  while  the 
other  was  moving  on  like  a  whirlwind,  tearing  up  many 
things  sacred  in    its  course  and  ending  in  a  violent  death. 

Everyone  talks  of  Angelico's  work  in  San  Marco. 
Let  us  see  what  it  was,  what  we  should  look  for  were 
we  to  go  there  to-day.  In  the  cloister,  where  the 
monks  were  constantly  passing  to  and  fro,  are  many  of 
his  best  works.  Here  above  a  doorway,  is  "St.  Peter, 
Martyr"  standing  with  his  finger  on  his  lips  in  token 
of  the  silence  that  should  reign  in  a  holy  house.  Above 
another  door  two  of  the  brotherhood  welcome  their 
Lord,  a  weary  traveller. 

In  a  larger  space  he  has  painted  the  angel  Gabriel 
announcing  the  coming  of  the  Christ  Child  to  the  youth- 
ful Mary.  The  sweet  submissiveness  of  Mary  together 
with  her  mild  surprise  at  the  angelic  appearance,  the 
grace  and  earnestness  of  Gabriel,  with  his  wings  still 
spread,  as  if  just  alighted  from  heaven,  are  wholly  to 
our  satisfaction  for  representing  this  naive  scene  from 
sacred  history. 


J>Ei   \ll.    I   II'  i\|    <   111  (  IH\M\ 


I'ra  AnyetUo 


FKA    ANGEI.ICO.  29 

Here,  too,  we  find  the  solemn  last  scene  in  the  Christ- 
drama,  as  "  The  Annunciation  "  was  the  first.  "  7Vie 
Crucifixion"  which  we  find  here,  was  simply  portrayed, 
but  witli  a  pathos  that  Angelico's  sympathetic  nature 
would  naturally  show.  It  was  afterwards  reproduced  in 
each  of  the  cells. 

In  the  chapter  house  we  find  a  more  elaborate  repre- 
sentation of  the  Crucifixion.  Here  it  is  large  enough  to 
fill  an  entire  wall  and  its  excellence  hardly  in  proportion 
to  its  size.  The  attention  is  drawn  from  the  great  Cen- 
tral  figure  to  the  figures  at  the  foot  of  the  Cross,  whose 
awe  and  adoration  are  well  expressed  by  the  painter.  It 
was  in  the  room  adorned  with  this  great  fresco,  that 
George  Eliot  had  Romola  and  Savonarola  meet  in  their 
famous  interview.  That  the  presence  of  the  solemn 
picture  added  force  to  that  powerful  scene  goes  without 
saying. 

Into  the  cloisters,  the  chapter  house,  the  chapel,  men 
of  the  world  might  enter  and  look  about.  Not  so  the 
narrow  cells,  huddled  together,  where  each  monk  was 
supposed  to  commune  with  his  Lord  in  uninterrupted 
silence.  For  these  narrow  cells,  forty  in  number,  Fra 
Angelico  did  his  best  work,  believing,  doubtless,  with 
the  ancient  builders  that  "  The  gods  see  everywhere." 
The  subjects  selected  were  the  events  in  Christ's  life  and 
to  each  cell  was  given  one  chapter,  as  it  were,  from  the 

Savonarola  (sa-vo-na-ro'la) 


M  \|)os  \  a    DELL  \    ~  t  ELLA. 


I'm  Anyelico 


FRA    ANGELICO.  31 

wondrous  story.  Nothing  could  more  forcibly  prove 
the  absolute  devotion  of  the  painter,  his  total  disregard 
for  the  attention  of  men,  than  his  dedication  of  his  best 
work  to  the  narrow  and  dimly  lighted  cells  of  San 
Marco. 

Long  ago  the  good  brothers  of  San  Marco  were  sent 
away  and  the  doors  thrown  wide  to  the  public,  who 
now  call  it  the  Museum  of  San  Marco.  Easel  pictures 
have  been  gathered  here  to  swell  the  number  of  Angeli- 
co's  works  in  the  place  that  was  so  long  his  home.  One 
of  these  is  a  small  copy,  made  by  the  artist,  of  what  is 
known  to  us  as  the  "  Tabernacle  Madonna  "  which  is 
in  the  Uffizi  gallery  in  Florence.  The  glory  of  this 
work  is  not  in  the  Madonna  or  the  child  she  holds  but, 
strange  to  say,  in  the  frame  which  encloses  the  picture. 
A  broad  band  of  smooth  gold  intervenes  between  the 
outer  and  inner  molding  of  the  frame  and  in  this  space 
are  painted  the  twelve  angels  playing  various  musical 
instruments,  which  are  so  familiar  to  us  to-day. 

Since  Angelico's  time,  no  matter  what  artist  has 
essayed  the  task  of  angel  painting,  none  has  approached 
so  nearly  as  the  angelical  painter  of  San  Marco  to  our 
ideal  of  these  heavenly  beings.  We  all  of  us  have 
some  more  or  less  definite  notions  of  how  angels  should 
look.  We  may  be  painfully  literal  on  other  subjects 
but,  though  there  is  no  science  on  which  to  base  our 

Uffizi  (6f-fed'ze)  art  gallery 


32  FRA    AN  GEL  ICO. 

demand,  we  want  them  with  white  or  jeweled  wings. 
Sometimes,  in  our  most  rapt  moods,  the  air  about  us 
seems  filled  with  these  ethereal  beings,  tending  on  the 
sick  and  dying,  leading  little  children,  ministering  to 
prisoners  as  to  Peter  of  old,  bringing  comfort  to  us  in 
our  sorrows.  This,  of  course,  is  a  fancy  and  yet  it  is 
such  fancies  that  have  made  Fra  Angelico's  represen- 
tations of  angels  a  real  joy  to  man  through  all  the 
centuries  since  he  painted  them  with  more  than  mortal 
power. 

His  angels  that  we  enjoy  most  are  not  those  entrusted 
with  some  special  mission,  but  they  are  of  that  great 
multitude  whose  joy  it  is  to  bring  good  tidings  of  great 
joy  to  men.  Here  is  one  glowing  in  ruby  red,  the  color 
of  passion.  She  lifts  on  high  her  golden  trumpet  and 
we  know  that  God  is  a  ready  helper,  waiting  only  to  be 
summoned  to  our  rescue.  Another,  arrayed  all  in  green, 
the  color  of  spring,  brings  us  hope,  without  which  man 
would  be  crushed  by  the  iron  weight  of  his  sorrows. 
This  one  in  blue  bears  her  message  of  heavenly  love  and 
fidelity.  That  one  in  yellow,  the  color  of  the  sun  itself, 
brings  light  to  those  who  sit  in  darkness.  Truly  they 
are  a  ministering  band  with  their  halo-encircled  heads, 
their  heavenward-lifted  eyes,  their  star-bespangled  robes. 

What  matter  if  critics  tell  us  that  Angelico's  know- 
ledge of  anatomy  was  defective  and  that  it  is  fortunate 


A 


W. 


(OliON  \  I  [ON    OF    i  UK    Vll:UIN. 


Ii„   AlKltlo 


FRA   ANGBLICO.  35 

for  his  angels  that  their  creator  represented  them  all 
closely  draped  ?  Their  talk  for  centuries  has  not  made 
the  devout  painter's  fame  one  whit  less,  while  all  the 
time  his  angels  have  been  bringing  comfort  to  genera- 
tions of  men  and  women. 

Another  picture  in  San  Marco  we  scan  carefully.  It 
is  "  The  Coronation  of  the  Virgin."  This  was  a  favor- 
ite subject  with  the  painter,  perhaps  because  it  repre- 
sents the  final  reward  of  the  world's  great  mother  —  the 
crown  placed  upon  her  head  by  her  enthroned  Son.  We 
remember  how  exquisitely  Correggio  depicted  the  same 
event,  with  what  supreme  grace  his  lovely  virgin  bends 
her  matchless  head  to  receive  the  diadem.  Hardly  less 
beautiful  are  Fra  Angelico's  pictures  of  this  subject, 
even  though  they  were  painted  half  a  century  before 
Correggio's  birth.  The  best  of  Angelico's  pictures  of 
"  The  Coronation  of  the  Virgin  "  is  now  in  the  Louvre, 
where  the  beautiful  Virgin  is  surrounded  by  tier  upon 
tier  of  rejoicing  angels. 

For  nearly  forty  years  Fra  Angelico  had  served  his 
convent  faithfully,  with  devout  life  and  the  work  of  his 
hand.  Everything  paid  for  his  pictures  went  to  swell 
the  income  of  the  convent.  He  never  took  an  order 
without  first  consulting  his  prior. 

His  fame  had  long  ago  reached  Rome.  The  art- 
loving  Popes  of  that  time  could  not  remain  oblivious  to 
Correggio  (kor-red'jo) 


36  FKA    ANGELTCO. 

his  great  ability.  In  1445,  the  quiet  life  of  the  monas- 
tery was  interrupted  by  Pope  Eugenius,  who  called 
Angelico  to  Rome  to  assist  in  decorating  the  Vatican. 
We  can  easily  imagine  that  there  was  some  shrinking 
on  Angelica's  part  at  severing  the  ties  that  had  held  him 
so  lonof  amono'  the  brothers  of  his  order.  This  may 
have  been  somewhat  offset  by  a  vague  desire  to  see 
Rome,  the  pilgrim  city  of  the  Christian  world. 

However  that  may  be,  he  obeyed  the  call  of  the  Pope 
and  journeyed  by  easy  stages,  passing  from  convent  to 
convent,  until  the  Holy  City  was  reached.  It  would 
have  been  an  interesting  journey  to  have  taken  with  the 
pious  monk.  One  could  have  seen  how  the  various 
monasteries  exercised  one  of  the  most  beneficial  purposes 
of  their  organization,  that  of  ministering  to  tired  and 
hungry  travellers.  At  many  convents  at  whose  doors 
he  appeared,  a  stranger,  he  probably  left  pictures 
and  certainly  the  memory  of  a  charming  personality. 
Perhaps  he  relieved  for  an  hour  some  weary  illuminator 
of  the  parchment  and  left  a  page  of  his  work  to  encour- 
age the  tired  monk. 

The  Pope  who  called  Angelico  to  Rome  did  not  live 
long  after  the  painter's  arrival  there,  but  he  did  not  die 
before  he  had  shown  special  favor  to  the  monk  of  San 
Marco. 

Taking  for  granted  that,  because  Angelico  could  paint 

Eugenius  (u-gen'i-us) 


FRA    ANGELICO.  37 

such  beautiful  pictures  he  could  do  everything  else 
equally  well,  he  asked  him  to  become  the  Archbishop  of 
Florence,  one  of  the  most  important  church  offices 
within  the  gift  of  the  Pope.  How  we  admire  the  good 
brother  when  he  responded,  with  the  simplicity  which 
was  so  marked  a  characteristic  of  him,  "  1  can  paint 
pictures  but  I  cannot  rule  men."  And  further,  how  we 
delight  in  him  as  he  recommends  another  brother  of  his 
order,  Fra  Antonio.  That  his  judgment  in  this  matter 
was  equal  to  his  generosity  is  proved  by  the  fact  that 
Antonio  became  the  wisest  archbishop  Florence  had  ever 
had. 

The  successor  of  Pope  Eugenius,  Nicholas  V.,  also 
extended  his  friendship  and  protection  to  the  painter. 
Here  in  Rome  he  lived  for  the  last  ten  vears  of  his  life. 
His  work  here  was  largely  confined  to  the  chapel  of 
Nicholas  V.,  in  the  Vatican,  which  he  decorated  with 
scenes  from  the  lives  of  St.  Lawrence  and  St.  Stephen. 
For  years  this  chapel  was  closed  to  the  public  and  the 
key  lost,  so  that  when  it  was  re-opened  it  seemed  as  if  a 
new  set  of  works  belonging-  to  Fra  Angrelico  had  been 
discovered. 

When  the  heat  of  summer  came  on  in  Rome,  the 
painter  from  the  hills  of  the  Arno  wilted  under  the 
depressing  influence  and  he  longed  for  his  native 
heights.       An  opportunity  for  release  from  the  stagnant 


FLK.tIT    INTO    KGVI'T 


I'ra  Angelico 


FRA   ANGELICO.  39 

weather  of  Rome  during  the  months  of  June,  July  and 
August  came  from  an  unexpected  quarter.  It  was  the 
time  of  the  building  of  the  great  Italian  cathedrals. 
Every  large  community  seemed  bent  on  excelling  its 
neighbor  in  the  splendor  of  the  church  it  erected. 
Florence  reared  her  Duomo,  the  Santa  Maria  del  Fiore, 
Siena  built  her  fine  cathedral,  striped  black  and  yellow 
like  a  tiger. 

Orvieto,  near  by,  had  witnessed  a  wonderful  miracle, 
and  in  remembrance  of  it  her  citizens  determined  to 
build  a  cathedral  that  should  be  more  beautiful  than 
any  other  in  Italy.  So  much  in  earnest  were  the  people 
of  Orvieto  in  undertaking  this  work,  that  they  gave  their 
holidays  to  drawing  materials  for  it  from  the  hills  near 
by.  In  eight  years,  an  incredibly  short  time  in  the 
building  of  a  mediaeval  cathedral,  it  was  sufficiently  fin- 
ished for  holding  religious  services.  It  was  three  hun- 
dred years,  however,  before  the  people  had  made  it  the 
wrought  jewel  that  it  stands  today. 

In  the  delicacy  and  elaborateness  of  its  ornament  it  is 
the  most  splendid  church  in  Italy.  A  hundred  and  fifty 
skilled  sculptors  worked  their  best  on  the  carving. 
Nearly  a  hundred  workers  in  mosaic  put  together  cun- 
ningly the  bits  of  glass  and  precious  stones  which  make 
its  rich  and  vari-colored  mosaic.  Almost  as  many 
master  painters  added  their  work  to  the  precious  struct- 
Siena  (se-a'na)  Orvieto  (or-ve-a'to) 


40  FRA    ANGELICO. 

ure.  The  facade  is  like  some  grand  screen,  with  its 
exquisite  bas-relief,  its  glistening  and  intricate  mosaic 
and  its  delicate  pinnacles,  every  one  crowned  with  a  statue. 

Such  a  beautiful  and  substantial  structure  was  a  fine 
crown  for  this  ancient  town,  rising  almost  like  a  rock- 
cube  from  the  barren  ravines  below.  It  was  to  help 
adorn  this  wonderful  church  that  the  building  council 
urged  Fra  Angelico  to  quit  Rome  each  year  through  the 
sickly  summer.  All  arrangements  were  completed  and 
our  artist  once  more  breathed  the  hill  air  to  which  he 
was  born. 

On  one  of  the  walls  he  planned  to  represent  "  The  Last 
Judgment"  a  subject  which  he  had  previously  painted. 
He  never  proceeded  further  than  to  the  completion  of 
the  figure  of  the  judging  Christ.  This  fragment  is  the 
strongest  piece  of  work  Angelico  ever  did.  It  is  prob- 
able that  the  mighty  Angeio  studied  this  figure  before 
painting  his  own  "  Last  Judgment."  The  critic  who 
compares  the  two  Christs  must,  it  seems  to  me,  ever 
decide  in  favor  of  the  one  made  by  the  Angelical  painter. 
The  combination  of  strength  and  compassion  in  Angel- 
ico's  is  far  more  to  our  notions  of  the  gentle  Christ, 
sitting  as  Judgfe  of  all  the  world.  If  Angelico  had 
finished  the  work  at  Orvieto,  it  would  doubtless  have  been 
much  like  the  one  we  may  study  to-day  in  the  Academy 
in  Florence.     Let  us  consider  that  for  amoment. 


fib   ■                     •    <fr 

\  •■  -. 

JK         '       ^J^^^ 

^jm5^ -»•'■■"  •■■ 

-.  ■■  / 

JP     ■              ^   '' 

•  * 

fiim^-r  ■-''■' 

lr; 

/ 

1 ." 

FRA   ANGELICO.  43 

It  was  a  strange  subject  for  one  with  so  mild  and 
loving  a  nature  to  undertake,  but  we  must  remember 
that  it  was  the  favorite  theme  of  the  age,  so  that  all 
sorts  of  painters  tried  their  hands  at  it.  Here  Christ 
sits  enthroned,  encircled  by  angels,  while  below  him, 
divided  by  a  long  line  of  unopened  graves,  are  the 
blessed  and  the  condemned.  In  depicting  the  former 
our  angel  painter  was  perfectly  at  home.  What  a  joy- 
ous host  they  are  as  they  tread  the  flowery  meadows 
and  appear  in  the  searching  rays  of  heaven's  own  light ! 
One  group,  a  monk  embraced  by  an  angel,  is  reproduced 
in  this  sketch. 

Even  if  for  a  time  Angelico  was  able  to  summon  the 
power  by  which  he  could  portray  an  avenging  and  yet 
pitying  Christ,  he  lost  that  power  when  he  tried  to 
image  forth  the  agony  of  the  condemned,  the  wicked- 
ness of  Satan.  So  the  picture  stands,  half  in  the  glory 
of  fine  and  characteristic  execution  and  half  in  the  dark- 
ness of  inadequate  workmanship. 

Just  why  Angelico  never  went  back  to  Orvieto  we  do 
not  know.  It  is  probable  that  the  infirmities  of  age 
were  pressing  upon  him.  Perhaps,  too,  he  was  reserv- 
ing his  surplus  strength  for  a  last  visit  to  his  beloved 
Florence.  Hither  we  know  he  came,  in  the  last  years  of 
his  life,  and  painted  for  the  Church  of  the  Annunciation 
a  little  cupboard  to  hold  the  gold  and  silver  vessels  used 


FACADE  OP  OBVIKTO  CATHEDRAL 


FRA    ANGELICO.  45 

about  the  altar.  It  was  a  delicate  task  not  wholly 
unlike  the  miniature  work  with  which,  in  his  early  years, 
he  had  adorned  the  parchments  of  his  monastery. 

Thirty-five  panels  were  filled  with  scenes  from  the  life 
of  our  Lord.  The  series  is  done  in  the  spirit  of  a  man 
who  knows  the  Scriptures  and  mediaeval  legend  to  a 
point,  and  all  the  time  there  shines  through  the  painted 
figures  the  saintliness,  the  mystic,  far-away  thoughts  of 
the  artist.  It  was  a  beautiful  work  to  give  to  his  home 
city  in  the  evening  of  his  quiet  life. 

The    work    completed,    he   wended    his    way   back   to 
Rome   where    he    died,  in  1455,  or,  as  a   contemporary 
historian  says,  "  Envious  death   broke   his  pencil  and  his 
beautiful  soul  winged  its  way  among  the  angels  to  make 
Paradise  more  joyous."      He  was  buried   in  the  Church 
of  Santa  Maria  Sopra  Minerva  where  he  had  lived  since 
his  first  coming  to  Rome.      His  tomb  is  simple  enough, 
enriched  merely  with  the  quaint  figure  of  a  Dominican 
monk,  with  his  hands  crossed,  and  wearing  the  dress  of 
his  order.      At  the  feet  of  the  stone  monk  is  this  epitaph, 
composed  by  Nicholas  V.,  Angelico's  friend  and  patron  — 
Not  that  in  me  a  new  Apelles  lived, 
But  that  thy  poor,  0  Christ,  my  gains  received  ; 
This  be  my  praise  :  Deeds  done  for  fame  on  earth 
Live  not  in  heaven.      Fair  Florence  gave  me  birth." 
What    his   appearance   was   we   cannot  tell   with   cer- 

Sopra  Minerva  (so'prii  me-ner'-va) 


46  FRA    ANGELICO. 

tainty  as  no  authentic  portrait  of  him  remains  to  us. 
From  imaginary  and  traditional  portraits  we  get  our 
only  notions  of  how  the  angelical  painter  looked,  and 
these  are  likely  to  fall  far  short  of  giving  us  correct 
ideas  of  the  face  of  one  whose  character  was  well-nigh 
faultless. 

Living  the  secluded  life  of  a  monk,  we  should  hardly 
expect  to  find  many  pupils  to  continue  his  work  after 
him.  One  there  is,  however,  who  is  always  spoken  of 
as  Angelico's  pupil,  and  that  is  Benozzo  Gozzoli,  whose 
angels  at  times  approach  in  beauty  those  of  the  master- 
painter  of  angels.  Benozzo  was  the  artist  who  com- 
pleted the  work  that  Angelico  began  at  Orvieto. 

We  have  found  the  facts  of  Angelico's  life  few  and 
not  at  all  startling  and  yet  his  character  was  such  that 
it  left  an  indelible  impress  on  his  age.  We  cannot 
better  close  this  sketch  than  by  quoting  from  Vasari, 
who  thus  sums  up  the  character  of  his  devout  country- 
man :  — 

"  This  father,  truly  angelic,  spent  all  his  life  in  the 
service  of  God  and  for  the  good  of  the  world  and  his 
neighbor.  In  truth,  the  great  and  extraordinary  powers 
possessed  by  Fra  Giovanni  could  not  have  existed  except 
in  a  man  of  most  holy  life.  He  was  a  man  of  simplicity 
and  most  holy  in  his  ways.  ...  He  withheld  him- 
self from  all  worldly  deeds,  and  living  purely  and  holily, 

Gozzoli  (got'so-le) 


FRA   ANGELICO.  47 

he  was  such  a  friend  to  the  poor  that  I  think  his  soul  is 
now  in  heaven. 

"  He  worked  continually  at  his  pictures  and  would 
never  treat  any  but  religious  subjects.  He  might  have 
been  a  rich  man  but  he  cared  not  to  boast,  and  used  to 
say  that  true  riches  consisted  in  being  content  with 
little.  He  might  have  had  command  over  many  but 
would  not,  saying  that  there  was  less  trouble  and  risk  in 
obeying  than  in  commanding.  .  .  .  He  was  most 
gentle  and  sober,  and,  living  chastely,  freed  himself  from 
the  snares  of  the  world ;  and  he  was  wont  to  say  that 
whoever  followed  art  had  need  of  peace  and  to  live 
without  distracting  thoughts,  and  that  he  who  does 
work  that  concerns  Christ  must  live  continually  with 
Christ. 

"  He  was  never  known  to  get  angry  with  the  monks  ;  if 
anyone  desired  work  from  him  he  would  say  that  he 
would  obtain  consent  of  the  Prior  to  it,  and  then  would 
not  fail  to  fulfill  the  request.  In  fact,  this  father,  who 
cannot  be  sufficiently  praised,  was  in  all  his  works  and 
conversation  most  humble  and  modest,  and  in  his  paint- 
ing dexterous  and  conscientious,  and  the  saints  of  his 
painting  have  more  the  air  and  resemblance  of  saints 
than  those  of  any  other  painter." 


SUBJECTS    FOR    COMPOSITION   AND  SPECIAL  TOPICS 

1 .  Angels  in  Art. 

2.  Savonarola,  the  Orator  of  San  Marco. 

3.  Antonio,  the  Good  Archbishop  of  Florence. 

4.  The  Angel-Painter  of  San  Marco. 

5.  An  Illuminated  Manuscript. 

6.  With  Angelico  on  His  Way  to  Rome. 

7.  In  the  Cells  of  San  Marco. 

8.  How  Monasteries  Have  Served  Civilization. 

9.  A  Day  with  the  Dominicans  at  Fiesole. 

10.  Some  Hill  Towns  of  Tuscany. 

11.  Two  Gothic  Cathedrals  of  Italy.      (Siena  and  Orvietoj 


REFERENCES    FOR    FRA    ANGELICO 

i. 

1. 

Life  of  Fra  Angelico              .... 

Siveetser 

2. 

Life  of  Fra  Angelico      ..... 

Phillimor 

•6. 

Makers  of  Florence     ..... 

Oliphant. 

4. 

Sketches  and    Studios    in    Southern    Europe. 

(Orvieto)          ...... 

Symonds 

5. 

The  Fine  Arts    .                             ... 

Symonds 

6. 

Old  Italian  Masters         ..... 

Cole. 

7. 

Friar  Jerome's  Beautiful  Book 

Aldrich. 

8. 

Art  and  Artists      ...... 

Clement. 

9. 

Angels  in  Art     ...... 

Clement. 

10. 

The  Monk  as  Civilizer 

Kingsley. 

48 


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